The study aims to examine whether the pre-modern visual culture of Assam conceptually aligns with pan-Indic cosmological perceptions with its expressive visual grammar, and to sense that Vedic sources were the fountainhead of spiritual cosmogony. ‘Anadi Patan’ manuscript exemplifies an imaginative approach to visually narrate the conceptions of cosmogony, Mount Meru, Jambudvipa, and the infernal and heavenly destinies of human deeds, depicting indigenous pictorial imagery. It can be contextualised with the Jain cosmography of ‘Trailokyadipika’, excerpted in ‘Lokapurusa’ of western India, which presents an iconographical and geometric visual diagram, underscoring the contemplative, austere, and moral etiquette for Karmic adjudication with shared cosmological and didactic vitality. The former is adapted from the Bhagavata and Vamana Purana in the vernacular and signifies relative terminological archetypes, while the latter does not. So, does it further reflect common epistemic and visual paradigms of Jain dogmas, or grow independently within the Neo-Vaishnava faith? Through ethnographic assessment of analogous themes and visual analysis by Panofsky’s iconology, this study explores one of the first comparative accounts of ‘Anadi Patan’ and ‘Lokapurusa’ paintings within the broader landscape of the Indian knowledge system of art and aesthetics. Juxtaposition shows that illustrations from both visual traditions reflect individual features rooted in literary intangibility; despite cosmic phenomenology, they commonly serve as indigenous visual imagery, conventional anthropoidal viewpoints, and pedagogy of spiritual engagement.

Keywords: Anadi Patan, cosmological interpretations, Lokapurusa, Sattriya painting, Trailokya Dipika.